Theater Review | 'The Addams Family'
Buh-Da-Da-Dum (Snap Snap)
By BEN BRANTLEY
Imagine, if you dare, the agonies of the talented people trapped inside the collapsing tomb of “The Addams Family,” a genuinely ghastly musical.
An Encores! concert version of “Anyone Can Whistle,” the composer’s biggest flop, hints at the greatness that followed.
Imagine, if you dare, the agonies of the talented people trapped inside the collapsing tomb of “The Addams Family,” a genuinely ghastly musical.
The Russian company Maly Drama Theater portrays Chekhov without the repression that sometimes plagues other productions.
Any informed speculation, gut calls, or plain guesses on which play or musical will win the Pulitzer Prize for drama on Monday?
The cabaret performers Jessica Molaskey and John Pizzarelli are staples of Manhattan urbanity, but their choice of a getaway is a rustic lakeside cottage in Carmel, N.Y.
Judith Blazer and Heidi Blickenstaff star in “Inner Voices,” a program devoted to cultivating the solo musical form.
Recently politicians and the song-and-dance show have snuck back into bed together, making a new kind of music with surprisingly electric results.
The actress talks about performing in the Encores! production of the musical "Anyone Can Whistle."
Selective listings from theater critics of The New York Times.
A look at the costumes for the Broadway musical "The Addams Family," narrated by Julian Crouch, the co-designer and co-director.
The director Alex Timbers narrates a look at the show "Bloody Bloody Andrew Jackson."
“Bloody Bloody Andrew Jackson” is the most entertaining and most perceptive political theater of the season.
“Bellona, Destroyer of Cities” is Jay Scheib’s adaptation of Samuel R. Delany’s science-fiction novel “Dhalgren,” about a ravaged, metaphorical city.
A revival of a 1968 play by Robert Anderson raises questions about relationships in families.
“The Irish Curse” is an often funny but formulaic play about a support group for men with notably small penises.
“Looking for Billy Haines” follows two threads, one about a gay movie star in the 1920s, the other about an aspiring young actor today.
The heady ether of prime farce never materializes in the labor-intensive but laugh-deficient revival of “Lend Me a Tenor.”
“Rescue Me (A Postmodern Classic With Snacks),” the Ma-Yi Theater’s irreverent update of “Iphigenia in Tauris,” melds the serious and the silly.
Nilaja Sun portrays more than a dozen characters in “No Child ...,” her play about theater class in a Bronx school.
Two River Theater Company presents “Orestes: A Tragic Romp,” an adaptation of the Greek tragedy by Euripides.
“Red” is an intense and exciting bio-drama about the Abstract Expressionist painter Mark Rothko and his ambitious young assistant.
Peter Brook’s theatrical adaptation of select Shakespeare sonnets leaves behind a haunting afterimage of the struggle to make evanescent things defy life’s inevitable endings.
Many of these shows are currently in previews.
The following shows have received ratings of at least four stars from Times readers.
BROADWAY OFF BROADWAYInterviews with performers, designers and others in the theater, on Broadway and off.